The Vorticists: a short-lived 20th century avant garde art movement
"The vorticists did not have many members; nor did the movement last long, because of unfortunate timing - it formed in 1914 as Europe hurtled towards war. By 1918 there was not much appetite for dogmatic groups such as theirs.
Nevertheless, the group holds an important place in 20th-century British art history.
'They were the first abstract modernist group in Britain,' said Stephens. 'It inevitably comes out of the revolution of cubism, but then, so does everything in the 20th century.'
They were part of a maelstrom of new, aggressive art 'ism' movements, not least the one practised by the Italian futurists, who were, in Lewis's eyes, the bad guys.
Stephens said: 'Unlike the futurists, who celebrate the energy of the machine and actual war as a purging force, the vorticists were engaged in more universal ideas of identity, time and movement in a philosophical sense.'"
(Mark Brown, 13 June 2011, The Guardian)
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Simon PerkinsSHARE
Journal for Artistic Research: a focal point for diverse artistic voices
"Introducing a high-quality journal in the field allows an ever-increasing number of artistic researchers to partake in what for the sciences and humanities are standard academic publication procedures. Given that artistic research has become a worldwide movement with many local activities, JAR can serve as a focal point, bringing together diverse voices, facilitating the discourse and thus improving the artistic research community.
In the context of JAR, artistic research is doubly defined: insofar as it is research, it enhances knowledge and understanding; because it is artistic, however, the mode of presentation is essential. This definition excludes works of art that share modes of presentation with artistic research, but do not enhance understanding. It also excludes research that is not dependant on an artistic mode of presentation. Thus, the development of epistemological as well as artistic criteria for the exposure of artistic research is a key ambition of the Journal; part of JAR's mission is to re-negotiate art's relationship to academia and the role and function of research in artistic practice. Furthermore, JAR embraces research practices across disciplines, thereby emphasising the transdisciplinary character of much artistic research.
JAR's unique presentation of artistic research as 'weaves', instead of 'pages', facilitates multi-modal exposition, thereby meeting the desire of artistic researchers to have their work displayed and documented in a manner that demonstrates a respect for modes of presentation. By introducing, together with the RC, a standard for documentation, the Journal is responding to the international artistic and academic communities, which demand high quality referencing and documentation. Moreover, the Journal meets the need of art institutions such as museums, galleries and collections for artistic research to be more easily accessible."
(Michael Schwab)
Fig.1 Deborah Harty and Phil Sawdon (2010). "humhyphenhum: Still 5".
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Simon PerkinsSHARE
The Bruce Lacey Experience: rich and diverse artistic production
"Bruce Lacey (born 1927) is one of Britain's great visionary artists. His lifetime pursuit of eccentric 'making and doing' has been a cathartic working-through of his experiences. This survey of a rich and diverse artistic production is a celebration of both his vibrant life (which includes working with Spike Milligan, The Beatles and Ken Russell) and his art which reveals telling links with the visual culture of the last 60 years. Co-curated by artist Jeremy Deller and art historian Professor David Alan Mellor, the exhibition charts Lacey's artistic development in a career encompassing painting, sculpture, robotised assemblages, theatrical performances and installations, as well as community arts and ritual action performances."
(Camden Arts Centre, 2012)
Fig.1 "Bruce Lacey Final H264 Widescreen 960x540" [Interview for The Bruce Lacey Experience, 7 July 2012 - 16 September 2012, Camden Arts Centre]
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Simon PerkinsSHARE
e-flux: an international visual art network
"Established in January 1999 in New York, e-flux is an international network which reaches more than 90,000 visual art professionals on a daily basis through its website, e-mail list and special projects. Its news digest - e-flux announcements - distributes information on some of the world's most important contemporary art exhibitions, publications and symposia.
The daily digest is put together in cooperation with nearly two thousand leading international museums, art centers, foundations, galleries, biennials and art journals. Our focused and selective approach to the information we choose to distribute has been rewarded by an exceptionally high degree of attention and responsiveness from our readers."
(e-flux)
Fig.1 "Pussy Riot" performing on top of Lobnoye Mesto stone platform on Red Square in Moscow. Photograph: Anna Artemeva/AFP/Getty Images.
Fig.2 Sally Mann "Candy Cigarette" 1989. Immediate Family. New York: Aperture, 1992.
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Simon PerkinsSHARE
Pop-up art transform Christchurch earthquake barriers
"Bryan L'Estrange has been chosen to curate an art exhibition in Sumner on canvases stretched across the container fronts. They will be installed at Sumners' Peacock's Gallop stretch of Containers. In some cases the containers are 12 metres long. ..
Dinesh Patel is the designer, Bryan LEstrange is curator. They are taking submissions from artists and looking for sponsors now. Some of the artists already confirmed include Ben Reid, Tony Delautour and Kees Bruin as well as Simon Kaan, Tony Cribb and Jason Kelly."
(L'Estrange Art Gallery, 06 September 2011, The Big Idea)
[The shipping containers were put in place as barriers to prevent injury by falling rocks, after the September 2010 earthquake in the seaside Christchurch suburb of Sumner in Aotearoa New Zealand.]
Fig.1 Bryan L'Estrange (2011), "Container exhibition Sumner Christchurch".
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Simon PerkinsSHARE
